1.Born on August 2, 1834 in Colmar, Alsace, France, Auguste Bartholdi was the French sculptor who designed the Statue of Liberty. Early in his career, Bartholdi extensively studied art, sculpture, and architecture. From 1855 to 1856, Bartholdi embarked on a life-changing trip throughout Europe and the Middle East with some fellow artists. When they visited the Sphinx and Pyramids of Giza in Egypt, Bartholdi discovered his passion for large-scale public monuments and colossal sculptures. In 1869, the Egyptian government expressed interest in designing a lighthouse for the Suez Canal. Eager and excited, Bartholdi designed a colossal statue of a robed woman holding a torch, which he called “Egypt (or Progress) Brings Light to Asia.” When he attended the canal's inauguration, however, Bartholdi was informed that he would not be able to proceed with the lighthouse. Although disappointed, Bartholdi received a second chance to design a colossal statue. In 1865, Edouard de Laboulaye proposed that a monument representing freedom and democracy be created for the United States. Bartholdi was a great supporter of Laboulaye's idea and, in 1870, he began designing the Statue of "Liberty Enlightening the World."
In the first few years after the statue's conception, Bartholdi made a number of trips to the United States. The moment he first entered New York harbor by ship, he spotted the location where he knew the statue must stand—Bedloe's Island. Bartholdi saw New York as the gateway to America, and it was at Bedloe's Island that Bartholdi envisioned the statue rising out of the star-shaped Fort Wood. Bartholdi also used his trips to stir up support for the statue—both ideologically and financially. When he returned to Paris in 1872, Bartholdi used his American contacts to assist Edouard de Laboulaye in creating the Franco-American Union in Paris, which raised 400,000 francs to fund the construction of the statue.
Bartholdi visited the United States once more in 1876 to display the statue's massive arm and torch at the Centennial Exposition in Philadelphia. Afterwards the pieces were displayed in Madison Square Park, New York City until 1882, to assist in fundraising. Additionally, Bartholdi assisted with setting up the American Committee for the Statue of Liberty for fundraising in the United States for the pedestal.

2.Eugene Viollet-le-Duc, born on January 21, 1814 in Paris, France, was the first architect hired to design the internal structure of the Statue of Liberty. He was hired by Auguste Bartholdi, the sculptor of the Statue of Liberty, who was one of Viollet-le-Duc's former students.
In his designs, Viollet-le-Duc wanted to rely solely on sheer weight to support the Statue's 62,000 pounds of copper skin. Therefore, he suggested that sand-filled masonry compartments be constructed within the Statue. Viollet-le-Duc also advised Bartholdi to sculpt the Statue's skin using the repoussé technique—the process of molding light-weight copper sheets by hammering them onto the statue's wooden framework. Once molded, these sheets would be attached to each other with the use of armature1 bars. Lastly, Viollet-le-Duc helped Bartholdi design Miss Liberty's torch and the support system for her arm.
When Viollet-le-Duc died unexpectedly on September 17, 1879, Bartholdi turned to Gustave Eiffel to design the statue's internal structure. Viollet-le-Duc's ideas however were not forgotten or unappreciated. Although Eiffel designed a completely new support system for the statue, Viollet-le-Duc's brilliant armature bar usage and repoussé technique were retained.

Select all the correct answers.
Which two statements best describe how both passages highlight the importance of design techniques?
Both passages explain how working together and exchanging ideas on techniques helped create the Statue of Liberty.
Both passages show how the artists designed the outer and inner structure of the Statue of Liberty.
Both passages reveal how the two artists appreciated each other's ideas and concepts.
Both passages describe how the artists used innovative ideas to plan the design for the Statue of Liberty.
Both passages discuss the need for government funding for constructing public statues.